Psychological Real Estate: Fractured Female Identity in the Victorian Novel

"Psychological Real Estate: Fractured Female Identity in the Victorian Novel" examines the use of domestic space in three Victorian novels, Charlotte Bronte's Jane Eyre (1847), Mary Elizabeth Braddon's Lady Audley's Secret (1862), and George Eliot's Middlemarch (1871-2). Because Victorian gender identity was conceived of in spatial terms, this thesis explores how the three female authors use complicated domestic environments to engage the problem of conventional Victorian femininity. In the Victorian mindset, a woman's place is confined to the home, or private sphere; however, even the private sphere is intruded upon by public spaces. Expected to conform to the Victorian formulation of femininity in public spaces within the home, women had only their private spaces to cultivate the unique, individualistic aspects of their selves. This thesis explores the ways in which the female protagonists negotiate these gender encoded spaces to argue that because Victorian women had to maintain separate and often disparate identities within domestic space, their identities became problematically fractured. Additionally, in each of these texts, the authors use the failure or loss of the estate, the structure which rigidly upholds the gendered binaries, to expose the harm such fracturing identity formulation caused for Victorian society as a whole. This thesis concludes by examining the final residences of the female characters and arguing that the authors use these final private spaces to assert more feminist re-envisionings of their society's construction of femininity.

The Pressures of History: Shakespearean Performance and Interpretation

Interpretations of Shakespeare’s characters have been subject to the pressures of history, exhibiting a progression of performance styles in accordance with changes in ideas and concerns over time. Shakespeare’s complex portrayals of women leave room for cultural influences of a time period to greatly influence interpretations because of the ambiguous nature of some of his major female characters. Lady Macbeth and Much Ado About Nothing’s Beatrice both overstep and challenge gender boundaries, and the combination of their defiant natures and textual ambiguities have made these characters highly controversial over the past four centuries.Various cultures over time have imposed specific readings of the characters that serve to reinforce the male-dominated expectations of a given society. The examination of variations in performance styles and interpretations of these two extremely canonical characters revealinsights into gender ideologies that existed during various time periods throughout history. The combination of this analysis with an exploration of the effects of the more recent applications offeminism and film, which have both helped to reshape the cultural images of both Lady Macbeth and Beatrice, will aide in an observation of the status of gender relations in our contemporary society. The current trend of interpretations of these characters could also provide predictions about future gender relations in our culture.

Sexing the Male: Manifestations of Masculinity in Jane Eyre, Wuthering Heights, and Villette

Abstract: This project considers Emily and Charlotte Brontë's constructions of masculinity in Jane Eyre, Wuthering Heights, and Villette. There is a vast proliferation of scholarship focusing on gender in the Victorian Era, but as much of this criticism focuses on women, the analysis of heterosexual masculinity in these novels provides a unique perspective on the complexities involved in gender constructions during this period. Masculine identity was in a transitory state in the early nineteenth century, as Romantic values were replaced by Victorian conceptions of masculinity, largely influencing the expectations of men. This paper argues that based on an understanding of femininity and masculinity as defined in relation to each other, the Brontë heroes look to the female characters as a source of stability to define themselves against, constructing a stagnant feminine role to frame an understanding of how masculinity was changing. The female characters resist this categorization, however, never allowing the men to fully classify them into stable feminine roles, which leads both shifting gender roles to intertwine and collapse in the novels, undermining any conceptualization of a stable or universal understanding of gender. The paper considers the role of masculinity based in class, relationships with women, and the understanding of sexual passion, to argue that the Brontës' portrayal of men emulates the anxieties surrounding the shift from Romantic to Victorian values of manliness, ultimately rejecting any stable definition of the nineteenth-century man.